A' leaning a bit to the right. C' bottom terminal too tight. J' hook to improve. N' might be too wide and stems not equal in thickness, diagonal maybe too thin. S' spine curves are too sharp, top part "shifts" right. U' improve bottom right cure. W' stems thickness. Y' left arm not parallel. Z' L' E' rounded serif tips not corresponding to C' G' and rectangular serif tips. Need to harmonise thin stems and diagonals thickness. No K' V' X'.
@Dave Crossland I think your definition is just a definition of good typeface not of a typeface's soul. A soul is something metaphysic (If at all, it exists in the highest frequency of energy in the base of creation) and I'm not sure if Pablo meant it like that or just as a metaphor. Type is made of shapes, therefore, in a regular manner of thinking it doesn't and can't have a soul, but saying that shapes are just shapes is not true either. An amazing phenomenon is that everything a man does somehow reflects him(/his soul maybe) and he is embedded into it. Make any sketch, and it will inevitably reflect many aspects of your personality and other mental qualities. Everything resonates. Even bad type . This reminds me of Odded Ezer's Skype-type project
To me, at this stage it seems to have too little fun and style so it falls to be seemed like a very amateur or a damaged typeface. It needs a deeper and wider characteristic work in order to form something that works.
In order to learn type design basics I think it is important to start with a standard/classic design where all the basic type design fundamentals (proportions, spacing, optical corrections, contrast, etc') are "objectively measurable". For example it is hard to tell whether your typeface suffers from the lack of optical corrections or the distortions we see are intentional.
May I ask how much time it took you to reach this point?